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The Process 2 NIBA DESIGNS THE PROCESS 2 he making of a hand-knotted rug is a centuries-old process. It is meticulous, time-consuming 6 HAND CARDING 20 BURNING EXCESS FIBERS Tand requires highly skilled artisans at every stage. It takes anywhere from 12 7 HAND SPINNING 21 WASHING THE RUG to 16 weeks to wash and dye the wool, weave the carpet and finish it for an 8 WASHING RAW FIBERS 22 DRYING THE RUG average 9’ X 12’ rug. When the highest quality wool, rich in lanolin, is chosen 9 DYEING THE YARN 24 STRETCHING and truly skilled artisans perform the 1 hand work developed by generations before them, the resulting hand-knotted 10 VAT DYEING 26 TEMPLATING rug can be ready to bring beauty and luxury to any room. 12 DRYING THE YARNS 28 SEWING ON THE BINDING The following pages describe in some 14 PREPARING THE YARNS 30 FINISHING detail the individual steps involved in creating such beautiful products. 16 CREATING THE ARTWORK 32 TWEEZING Sincerely, 18 WEAVING METHODS 34 FINAL STEP Beth Arrowood CEO & Creative Director 4 HIMALAYAN WOOL VERY FINE WOOL FROM THE HIMALAYAN MOUNTAIN RANGE. DUE TO THE HIGH ALTITUDES AND COLDER CLIMATE, THE WOOL HAS A VERY HIGH LANOLIN CONTENT MAKING IT VERY CLEANABLE. A HIMALAYAN WOOL RUG WILL APPEAR TO GAIN SHEEN WITH AGE IF PROPERLY CARED FOR AND HAS A NATURAL, VERY SLIGHT VARIANCE IN COLOR WHEN DYED. HIMALAYAN WOOL IS USED ON ALL OF NIBA’S TIBETAN KNOT RUGS. 6 HAND CARDING (Also known as combing) is the process of pulling the raw wool apart to remove all of the dirt and bark and readyeing it for the spinning process. Hand carded yarns create a very natural striated and textured appearance. HAND SPINNING Is done by very skilled spinners by using both their feet and hands to operate the wooden spinning wheel. Hand spun yarn creates a more inconsistent and natural look. It is more variable and valuable because it absorbs color in a much more variegated, rich way. 8 DYEING THE YARN This important part of the rug-making process is, in itself, a highly developed craft. A good quality manufacturer employs a Dye Master an educated expert that oversees the dyeing process. The Master knows all the “recipes” for making each dye and with expert skill alters his recipe for a certain color to accommodate variations and the properties of different fibers. Without a Master, dyes can either be poorly selected or not properly handled during the manufacturing WASHING process. The result is excess, unsecured, weak and/or unstable dye. When a dye THE RAW with poor stability or wash fastness is used, it may bleed during or after the FIBERS first few cleanings. Likewise, when too much dye is used during manufacture, After the wool or other the excess adheres near the outside of fibers have been spun the fiber where it may readily wash away. they are placed into Such defects in dye or dyeing method, a large vat of warm at the time of manufacture, produce a water and gentle soap product which is defective. Unfortunately and then kneaded and for the average consumer, these defects rotated by foot. are not visible at the time of purchase. 10 WOOD IS USED TO CREATE THE FIRE WHICH IS USED TO BOIL THE WATER AND DYES FOR THE DYEING PROCESS. VAT DYEING Done in copper vessels over a burning fire, the fibers are hand rotated for several hours until the fibers are fully saturated with the pigment. 12 DRYING THE YARNS The fibers are hung out to dry on drying lines located on the rooftops of the factories. 14 PREPARING THE YARNS FOR THE LOOM After the dyeing and drying the yarns must be prepared for the loom by being spun into balls and placed in large bags to be transported to the weaving centers. 16 CREATING THE ARTWORK Each rug design is e-mailed to the factory where it is printed onto graph paper in actual size. The graph paper is then glued together and hand painted to identify the different areas and colors of the rug to be woven. This is used as a map for the weavers to follow and is attached to the top of the loom. 18 3 1 1. TIBETAN KNOT 4 An ancient hand weaving technique where the yarn is looped 2 around two warp threads and a metal rod, anchoring the yarn to the underlying cotton foundation. The yarn is looped across the full length of the rod and intermittently cut when colored yarn must be changed. When the looped row is complete, the weaver either cuts the loops across the rod by hand with a sharp knife to create the cut pile, or leaves the looping pile in tact. The thickness of the rug can be manipulated by the thickness of the rod. 2. HAND TUFTED A hand tufted rug is made by punching strands of wool into a canvas which is stretched on a frame. This is accomplished with the help of a hand operated tool. This process is not very time intensive, and does not require the same level of skill that hand- knotting does. After piling with wool, the rug is removed from the frame and a scrim fabric is glued to the back, while a fringe is added by either sewing on, or gluing. 3. PERSIAN KNOT This ancient hand knotted technique is done by looping the weft yarns around one warp thread and cut knot by knot. Advantages of the Persian knot include a very tight, dense and thin rug. Ideal for stair runners and near doorways where low clearance is needed. Also you can achieve much finer and more detailed patterns in a Persian knot over a Tibetan knot. 4.FLATWEAVE Are rugs that are woven on a loom, rather than knotted. Some well known examples of rugs made in this style include dhurries, kilims, soumacs, needlepoint, paddle weaves and tapestry rugs. Because these rugs are woven rather than knotted, they do not have a tufted pile. 20 BURNING EXCESS FIBERS After the rug is removed from the loom, many excess fibers remain and are burned off the back of the rug before the washing process begins. WASHING THE RUG Each rug is washed for a minimum of one hour with the use of wooden paddles, soft brushes and combs to remove excess dyes and fibers. Gentle soap and conditioners are used to help enhance the rug’s softness and bring out the sheen and the colors. 22 DRYING THE RUG The washed rug is then left in the sun on raised bamboo racks to dry for about five days (weather permitting) Summer is monsoon season! NATURAL BAMBOO TRUNKS ARE HAND PAINTED AND TIED TOGETHER TO CREATE THE DRYING RACK. 24 STRETCHING The dry rug must be stretched to ensure that the edges are straight and square—since it’s a hand- spun, hand-knotted creation, it is never completely uniform when it comes off the loom. Stainless steel hooks are placed all around the rug perimeter and then pipes are threaded through the hooks to be used in lifting the rug onto the stretcher. NOTE: All of NIBA’s rugs are made with an additional 2-3” border so that the hooks do not damage the edge of the rug during this process. 26 TEMPLATING Is used for complicated shapes or stair runners. NIBA’s installers measure the space and create a paper template which is flown to our factories to be laid on the final rug to ensure accurate cutting. 28 SEWING ON THE COTTON BINDING Each end of the rug receives a cotton binding to help maintain the smooth edges as well as to keep the actual rug from soiling. Also for those who do not want fringe, the cotton binding covers the fringe on the ends of the rug. 30 FINISHING Our skilled artisans use large sharp scissors to trim the pile, making the surface even. Later, smaller, long-pointed scissors are used for sculpting between different colors, enhancing the clarity and vitality of the design in the carpet. 32 TWEEZING The last step in the finishing process is removing any loose fibers from the surface of the carpet using scissors. The rug is now ready for packing! 34 FINAL STEP The rugs are wrapped around PVC piping and air freighted to our warehouse in Miami for final inspection, protective treatment, and padding. Once complete the rug is ready for its new home! DESIGNED BY M DESIGN DESIGNED BY MARTHA ANGUS ANOTHER WORK OF ART IS NOW COMPLETE! NIBADESIGNS.COM.
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